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--- -------~------ --- A bad time for pop culture by Keri Anna Phillips A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF ARTS Major: English (Creative Writing) Program of Study Committee: Debra Marquart (Major Professor) Jane Davis Jill Bystydziendski Iowa State University Ames, Iowa 2002 Copyright © Keri Anna Phillips, 2002. All rights reserved. 11 Graduate College Iowa State University This is to certify that the master's thesis of Keri Anna Phillips has met the thesis requirements oflowa State University Major Professor For the Major Program Ill In memory of Van Allen Phillips iv TABLE OF CONTENTS NONFICTION The Men Behind My Music I Coming Together, Falling Apart 124 FICTION Blueprints 17 The Pause Before Emergency 37 Circumstances of Starvation 51 The Mechanics of an All-Consuming Fire 72 Za-Za-Za-Zoom 100 v Acknowledgements Thanks so much to Debra Marquart for seeing my vision for each of these pieces and helping me to see it more clearly as well. It was so wonderful to get the chance to work with someone whose work I admire and enjoy so much. Thanks to Evelina Galang for helping me understand the elements of a good story. I think I'm getting it. Thank you to all my ISU professors, from each of whom I took something valuable and memorable. Thank to you Jane Davis and Jill Bystydziendski for their insightful comments and questions. Thank you to Amanda Fields for her help in revising my thesis, accurately pointing out that I misspelled the word "lying" at least thirteen times. Thank you to Meridith and Kent Kjellberg for all their multifarious support and unwavering belief in my writing. Thank you to Joey Phillips for being a creative, inspiring person in my life. Thank you to Zac Bates for making me laugh and always listening to me. 1 The Men Behind My Music I'm obsessed with VHI 's Behind the Music, the hour-long rockumentaries that follow the same formula: childhood passion and genius; early success; the downward spiral into drugs, illicit sex with groupies; a comeback in the works, an inner peace with having fallen off the glorious success train but still having what matters-the music. Of course, some people are murdered or killed in plane accidents. And it doesn't matter who the musician or band is­ Megadeth? Sounds good to me. Notorious B.I.G.? Seen it four times. When there's a weekend marathon, I take a sabbatical from my life, buy some Raisonets in bulk and settle in for the long hauL only answering the phone during commercials. It's my guilty pleasure, only I don't feel so guilty about it. It's great drama, and there's something satisfYing about knowing that everything will turn out okay in the long run (except for Milli Vanilli, but even then there's a lesson to be learned). As I watch, the Behind the Music of my dad's life plays over and over inside my head. The pictures of him as a kid with his mini drum set; his early days in bands who all dressed in uniform baby blue suits and played Holiday Inns; the strings of rehab clinics, bar bands, smashed guitars, drugs, wives; and the two years of sobriety before his death, when he listened to music constantly, CD's stacked in piles around his house in leaning towers about to tip, music a soft haze as familiar as air to live his last days in. I see the beginning sequence of the show now: the words Passion, Success, Downfall, Glory shooting across the screen, the narrator setting up the story, a synopsis of my dad's life. The context of my childhood was rock 'n roll. My mom and dad met at one of his gigs when she was eighteen, he twenty-four and already with one marriage and kid under his 2 belt. His dad is a drummer, his sister is a drummer, my brother is a drummer-and not hobby-drummers. Drummers who give their entire lives to drumming, who refuse to get day­ jobs no matter how little money they're making, who get sucked into the cliche but devastating, life-smashing alcohol and drug addictions that come with rock 'n roll lifestyles. Drummers who use drums as instruments of transcendence, taking them places where they don't have to follow the rules of normal people. I grew up with an inflatable Rolling Stones tongue logo hanging from the living room light fixture, and I thought my dad was basically Mick Jagger for the first eight or so years of my life, and I was Pat Benatar waiting to happen. I'm still not quite over the surprise of getting older and not becoming famous--or at least remarkably talented. I have all these old eight by ten glossies of my dad's bands. There is So What, with eight men all dressed in baby blue suits, white ruftled shirts, shaggy hair. My dad looks beautiful in this picture, feminine, with long, dark hair curling in sweet commas around his ear lobes­ like David Bowie in his early days. My aunt was the alpha-female of this band, the vocalist, and she's wearing a long blue flowing dress, almost prom-style, with permed hair in tight, shiny curls. Then there's Lickety Split, a black and white shot, down to six members-two women now: my aunt with her hair feathered in a halo across her forehead and her lover at the time, Susie-all with very serious looks on their faces, my dad pointing his finger gun­ style at the camera. Then moving into the early eighties, there's Max Danger and the Stil/etos, the band that practiced in our garage when my brother and I were kids. When I 3 asked her, my mom said, "Our house was always the band house, always the practice house." This picture is how I remember my dad at that time: wearing a black hat with a bolo tied around the brim, an untucked dark blue dress shirt with a skinny black tie, his bottom lip pooched out slightly as Phillips lips tend to do. He's holding a pair of drumsticks crossed over his chest. Cross my heart and hope to die. Then there's the other members: Bernie, Rick, and Cedrick, all looking jaded, ridiculous with rock 'n roll attitude of the Dodge City plains. When Max Danger practiced, my brother and I would perch on the stairs leading to the basement and listen, playing the stairs with our palms, me playing my plastic toy tambourine and singing along. "You kids come up here and play outside," my mom would eventually yell, scared even then that we would follow in our dad's footsteps. "You don't need to be down there messing with their stuff, getting in their way. You come up here and help me clean out the fridge." As soon as my memory kicks in, my mom was never enthusiastic about my dad's music. At night, I'd go to sleep to the sound of the band still rehearsing, the feedback from the microphones winding its way through my dreams in the form of screams or car wrecks. When my dad was still sleeping and my mom away at work, I'd play with the musical equipment-put the microphone up to my lips and kiss it, run my fingers up and down the strings of the guitars, play the drums with the metal whisky sticks that sounded raspy, soft so as not to wake my hung over dad, and shake the bean-filled gourds until I thought they were about to rise up and shake themselves. The garage was a place where magic was made, where my dad became competent, alive, and happy. Even the light ofthe room was different, dark 4 and sweet, stained from what happened every other night at nine, when Max Danger practiced. When I was six, they got divorced. By the time I was eight, I couldn't imagine them ever being together, ever liking each other. For the first few years after the divorce, my mom would pack my brother and me up and send us on week long visits to my dad, who lived on various couches of various houses in Dodge City before moving to Gypsum, Kansas, a tiny town pock marked with old, abandoned houses, the wispy main street anchored by a shop called Sundries that sold root beer floats, old toys still left-over from the late seventies, and baseball cards, the gum in them hard as pink slate. My dad was haunted here. He drank more than ever, always vodka and soda water in his insulated K wik Shop mug, and only played occasionally with his new band, The Wizard ofAhh 's. He lived with his new wife and baby daughter in an old house next to an abandoned Victorian house. He told us that in the middle of the night, he'd see a man's face up against the window, grinning. He told us the house next door was full of evil spirits and that he'd go there to seek them out, find out what they wanted. He kept an old machete in the corner. He told us, "Whatever you do, you have to believe in God. No matter what." To my brother and I, God was nothing more than a powerful ghost that came to haunt my dad when he was most sick, most sad.

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